The Moylan Sisters: The Angels of the Airwaves

July 16 was the birthday of Marianne Moylan (1930-90). Along with her sister Peggy Joan (1932-2002), she was part of the kiddie act The Moylan Sisters.

All of 7 and 5 when they made their debut on The Horn and Hardart Children’s Hour, the girls were prized for their naturalness and purity. They sang beautifully and in nice harmony, but unlike most kiddie acts they were not precocious and show bizzy. They were real kids, not performing freaks. Their repertoire tells the tale; they did songs like “School Days”, “I Don’t Want  to Play in Your Yard” and “M-I-S-S-I-S-S-I-P-P-I-I.”  Billed as “The Cinderellas of Radio” and “The Angels of the Airwaves”, they also made records, live appearances and  several short films, including The Backyard Broadcast (1936), Starlets (1937), Toyland Casino (1937 — a Vitaphone, which is how I first learned of them), and World’s Fair Junior (1939). In 1939, they were given their own network radio show, which remained on the air through 1945. For a while the show was sponsored by Thrivo Dog Food. The Thrivo jingle which they sang was one of their most popular and well-known numbers. At one point, their show was the second most popular in the country, topped only by The Shadow.

The girls both seem to have retired from the business in the early 1950s. Born and raised in Sag Harbor, New York, the Irish Catholic children of an engraver at a watch factory. They attended school at the Academy of the Sacred Heart. Marianne married a local plumbing contractor in 1953 and became a homemaker, remaining in Sag Harbor. Peggy Joan married in 1955, also choosing the domestic life over a career. She moved to Maine for a time before returning to New York. Both women continued to sing in church after their professional retirement.

The act was parodied in the 1976 Broadway musical Annie as “The Boylan Sisters.”

For everything you need to to know about the variety arts, including kiddie acts, sister acts, and radio variety, see No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available wherever fine books are sold.

The Ten Most Influential Vaudevillians Of All Time

In contrast with yesterday’s post, which reported who YOUR favorite vaudeville performers are, today we share a short list of those whom we deem to have cast the longest and widest shadows in terms of influence on the culture and on other performers. Many of these entertainers cast ripples that are still being felt today. We list them in no particular order. Just click on the links to learn more about the stars in question:

Weber and Fields: The mother of all comedy teams, they influenced acts as wide ranging as the Marx Brothers, Abbott and Costello, the Three Stooges, Laurel and Hardy and countless more. Plus, they went on to help found and shape the institution we now know as Broadway. PLUS, they were the first hugely successful Jews in American show business. Incalculably influential.

Lillian Russell: I had real difficulty deciding whom was the best female singing single to put here. Women were the biggest stars in vaudeville. There is a long chain of highly successful ones leading way back before vaudeville even existed. Where to cut it off? Who was most successful? Who was “Eve”? Two pre-vaudeville examples helped pave the way: Jenny Lind as the angelic type, who helped make it acceptable for “proper” ladies to attend the theater; and Lola Montez as the naughty type, who helped set the template for what stardom would be like. Lillian Russell merged aspects of both, and came along just as vaudeville was getting off the ground, and became Tony Pastor’s biggest star, and later starred with Weber and Fields. Her early advent, the scale of her stardom, and her colorful private life I think make her the most pivotal of the “singing comediennes.”

Al Jolson: People who know him only for The Jazz Singer don’t know the first thing about him. People seem to remember him only for wearing blackface** today, but blackface was near universal in his day. If anything, he is the pivotal figure in transitioning American show biz into its POST minstrelsy period. Just about every male singer of the first third of the 20th century (and many who came afterwards) patterned themselves after his big-over-the-top show biz style. Top star of Broadway, movies, and radio, for decades he was the entertainer all others were measured by.

Walker and Williams: This seminal African American vaudeville team are responsible for so many firsts: first to be stars in white vaudeville, first on Broadway, first to make record albums and movies. They popularized the cakewalk among whites as well as blacks. Many African American performers patterned themselves after this successful team, and you can see their influence in white comedy teams as well. When George Walker died an early death, Bert Williams went on to further triumphs as an artist and was widely admired by peers and audiences of all colors, in spite of the prejudices of the times.

Houdini: The great magician and illusionist was not only influential among his peers in the invention of new tricks, stunts and escapes, but he was a towering innovator in the field of self-promotion, one of the reasons his name remains a household word to this day. Houdini was so influential in his time, he had scores of imitators and even imposters using close variations on his name (e.g. “Boudini”)!

Frank Fay:  The reason you don’t see Bob Hope or Jack Benny here is that, influential though they were, they both patterned themselves after Frank Fay, widely heralded as the first modern stand-up comedian and m.c. Fay’s humor seems to have been anchored to his own era; what has survived doesn’t seem to have weathered the passage of time well, or in a way that we can understand. Nor was he able to become a major movie star like many of his peers and acolytes. But in his time he was considered King. The monologue at the top of every late night comedy tv show can be traced back to the Great Faysie.

Eva Tanguay: Tanguay pushed the envelope in terms of content, becoming notorious for both her onstage and offstage behavior, but in a way that was also kind of crazy and funny. Performers like Mae West, Sophie Tucker and Texas Guinan owed a lot to her. Oddly, Tangay may be even more influential in our time than in hers. Countless modern stars take the path blazed by Tanguay; in her own time few performers dared.

Fred Karno: Karno is the man who trained and developed Charlie Chaplin and Stan Laurel and dozens of others who are lesser known today, and so his impact extended well beyond the vaudeville stage — it would come to reach millions through motion pictures. Further, his “Speechless Comedians” were widely imitated on the stages of the day.

Vernon and Irene Castle: Vaudeville’s premier dance team, they were a downright craze in the teens, not only popularizing individual dance steps, but making dance (esp. modern styles) socially acceptable in the first place. Thus they were at the center in a cultural revolution. There were entire product lines with their branding on them

Gus Edwards: Edwards was the premiere producer of vaudeville kiddie acts. Not only were his sketches and productions widely imitated on vaudeville stages, but the young people he presented in those acts grew up to become stars themselves, among them people like Eddie Cantor, Groucho Marx, George Jessel, Eleanor Powell, and dozens of others.

To learn more about vaudeville and all of these vaudevillians please see my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever fine books are sold.

**Obligatory Disclaimer: It is the official position of this blog that Caucasians-in-Blackface is NEVER okay. It was bad then, and it’s bad now. We occasionally show images depicting the practice, or refer to it in our writing, because it is necessary to tell the story of American show business, which like the history of humanity, is a mix of good and bad. 

Florence Brady: Miles of Smiles

A few scraps on Florence Brady (Florence A. McAleer, ca. 1902- ca. 1943) We first learn of her in the 1920 Broadway show Her Family Tree, with Nora Bayes and Julius Tannen. She appeared in vaudeville throughout the 1920s with an act called “Miles of Smiles”. She was noted for her big personality, as funny as she was entertaining with a song. In 1926 he was featured in Earl Carroll’s Vanities.

In 1928, she recorded two Vitaphone shorts — the chief reason she is known by anyone today. A Cycle of Songs is the only that survives in complete form. She is terrific — she sings a very minstrel influenced set that includes  “Sunshine”, “Now That She’s Off My Hands”, climaxing with an animated version of “Here Comes the Show Boat”. Her other Vitaphone, Character Studies apparently included the numbers “There’ll Be Some Changes Made”, “I’m a Demon with the Ladies”, and “That’s My Weakness Now”, but the sound disk is lost as of this writing.

Somewhere in here Brady met and married another performer named Gilbert William “Gil” Wells (1893-1935). A little more is known about Wells. He also recorded a Vitaphone in 1928 which survives, entitled A Breeze from the South. In his act, the multi-talented sang, danced, played piano and clarinet, and told jokes between numbers. He was also prolific songwriter, known for tunes like “Insufficient Sweetie”, “Sadie Green, The Vamp of New Orleans” and “You May Be Fast (But Your Mama’s Gonna Slow You Down)”.

Brady and Wells started performing as a two-act around this time; I came across a notice of their performance in Flushing, Queens in 1930. They didn’t have much time together. He was dead in 1935 (and vaudeville was dead a few years before that). Brady reportedly died in the early 40s of cirrhosis of the liver.

To find out more about the history of vaudeville, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

 

Mayer and Evans: The Cowboy and the Girl

April 24 is the birthday of big band and jazz piano player Ray Mayer (Ray Maher, 1901-1949). Originally from Lexington, Nebraska, he started out in circuses and in some bands organized by trombonist and songwriter Larry Conley. In 1928, he teamed up with singer Edith Evans, whom he seems to have met while recording sides for Brunwsick Records. They were both high profile enough that they were able to play the Palace that year, and be featured in the Vitaphone shorts When East Meets West and  The Cowboy and the Girl, which is chiefly what they are known for today. The act is sort of like Blossom Seeley and Benny Fields, but if Fields were much more like Will Rogers — a gun-chewing, wisecracking country bloke in chaps. And the gag is that Evans is more urban and sophisticated. It’s a good act, but 1928 was a terrible time to start a vaudeville act. Vaudeville was dead by 1932. The following year, the pair got married and retired the act.

Evans appears to have left the business at this point, but Mayer worked steadily. He appeared in scores of films until his death, often B movie westerns, mostly bit parts. And he’s in half a dozen Broadway shows from 1940 through 1946, including the original production of Louisiana Purchase and Eddie Cantor’s Banjo Eyes. Mayer died in 1949 while on traveling to a performance. More about the pair can be learned at JazzAge20s.com

To find out more about vaudeville history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early  film please see my book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Charles Chaplin, Sr.: No Slouch Either!

Born on this date in 1863: Charles Chaplin the Elder: the father of his better known namesake, comedian and movie star Charlie Chaplin. It’s not as well known today that in his time the elder Chaplin was a fairly successful performer in his own right.

The son of a butcher, Charles Senior was still a teenager when he went on the stage. It is said that he met Charlie’s mother Hannah Hall (a.k.a. Lily Harley) while performing in a sketch called “Shamus O’Brien” in the early 1880s. In 1885 he married her, despite the fact that in the intervening months she had taken up with another man and given birth to a child. Chaplin gave the boy his surname; he became Sydney Chaplin. By ’87, Charles Senior had worked up a music hall act and began getting bookings in the halls, with a repertoire of sentimental and comical songs. In 1889, his son Charlie was born.

So far so good, eh? Unfortunately (for the family) not long after that, Chaplin’s career began to take off — and so did he. By 1890, he was popular enough to tour America (notably, he played the Union Square Theatre in New York — this was his own foray into American vaudeville. The following year he ran out on Hannah and the boys for good.

Chaplin was popular enough by this stage that his name and visaged graced the covers of the published sheet music of songs he had made popular, such as “The Girl Was Young and Pretty”, “Hi Diddle Diddle” and the comical, suggestive “Eh, Boys!”

It’s a well known story by now. While Charlie the elder was cavorting and carousing in music halls, living the carefree life, Hannah (also an entertainer, and by her son’s account a brilliant one, the one he took after) went slowly insane and couldn’t work. Chaplin offered no financial support, even when the two children were packed off to workhouses.

By the end of the decade (and the century) Chaplin had become an alcoholic and was no longer working himself. Significantly, this was the juncture when he first seems to take an interest in his namesake. In 1899, he got ten year old Charlie his first proper show business job by getting him into an act called The Eight Lancashire Lads. The younger Chaplin was about to embark on an incredible life’s journey; the older one was just ending his. By 1901, Charles Chaplin, Sr. was dead of cirrhosis of the liver.

But his mark is there for all to see in Charlie Chaplin’s life and art. An alcoholic, performing dad is something Charlie had in common with Buster Keaton. But there are contrasts. You could say that Joe Keaton’s drinking hurt his career, but it didn’t end his life. And Buster followed in his footsteps, becoming a problem boozer himself. Whereas the elder Chaplin ended both his life and career through alcohol abuse. And Charlie, Jr. only ever drank in cautious moderation. But I find it significant that he played hilarious comic drunks on stage and screen for decades. And there is also the subject of Chaplin’s relations with him. For a good long while, like his father, he put his work first and neglected his women (following periods of intense wooing). This cycle was only broken when he finally married Oona O’Neill, quite late in life, when he only worked occasionally and chose to devote all of his energy into family life…as though he were making up for lost time.

To find out more about vaudeville history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Albert Carroll: Kind of a Drag

Today’s as good a day as any to tell you about Albert Carroll, an extraordinarily talented and well-known guy in his day to have become so obscure in ours. Carroll was a Broadway actor,  dancer, impressionist, female impersonator, lyricist and choreographer. Sources differ as to his birth. IBDB gives ca. 1895-1956, and a 1900 Chicago census seems to bear this out. IMDB gives march 13, 1898 through 1970, although they might be conflating him with another Albert Carroll, possibly the New Orleans piano player, who was African American. To further confuse matters, our subject sometimes rendered his name as Albert J. Carroll.

I’ve gotten some info about his earliest years from F. Michael Moore’s book Drag! Male and Female Impersonators on Stage, Screen and Television. Moore says that Carroll staged an amateur revue in Chicago when he was 16, and that when he got to New York, he performed during interludes in silent movie screenings. About his private life, or how he came to New York I’ve so far found nothing. Since his earliest credits were all with the Neighborhood Playhouse we can make some deductions about he got his start on the stage. The Neighborhood Playhouse was founded in 1915 and had grown out of youth education programs at Henry Street Settlement on the Lower East Side, which remains a center of theatrical activity to this day. Carroll’s first couple of shows with the company appear to have opened at the downtown theatre and then moved to the Maxine Elliott Theater on Broadway.  He’s about the right age to have been involved with Henry Street’s theatre programs in his late teens and young adulthood, and gotten involved with the company that way. His first professional credit was a show based around visiting British actress Gertrude Kingston in 1916. The next was a play called 39 East by Rachel Crothers in 1919, in which Carroll appeared with Henry Hull and Alison Skipworth. It was made into a silent film the following year with a much of the same cast, including Carroll.

For the next three decades Carroll was to be a star of Broadway, often with Neighborhood Playhouse productions, in over three dozen shows. He was a notable stand-out as performer, choreographer and lyricist in several editions of the revue called the Grand Street Follies, participating in the inaugural 1922 edition, as well as ones in annual editions from 1924 through 1929. Other revues he appeared in included The ’49ers (1922),  The Garrick Gaieties (1930), The Ziegfeld Follies (1931) and The Seven Lively Arts (1944). In these revues he was famous for impersonating famous actors and dancers, many or most of whom were female.  He did impressions of both John and Ethel Barrymore. He also did Pavlova, Irene Castle, Lynn Fontanne, Bea Lillie, Gertrude Lawrence, Laurette Taylor, Groucho Marx, and NYC Mayor Jimmy Walker.   Some photographs of him in character can be found of him on a blog called the Mouse Art Notebooks. He also contributed humor, poems and stories to the New Yorker between 1927 and 1930. He also acted in straight plays and comedies and even classics. His last known credits are musicals with the Paper Mill Playhouse in New Jersey in 1946 and 1947. After this he appears to have returned to Chicago, where he passed away about a decade later.

Several sources say the great Southern novelist Thomas Wolfe disliked Carroll, whom he met in the 1920s through the Neighborhood Playhouse’s set and costume designer Aline Bernstein, who was Wolfe’s patron and lover. (He is said to have been uncomfortable with Carroll’s flamboyant and foppish personality, i.e. he was homophobic).

Another interesting tidbit: Carroll’s younger brother Eugene “Gene” Carroll had a vaudeville career, and hosted a local television show in Cleveland for decades.

To find out more about vaudeville history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on silent  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Louise Beavers: Started as a “Lady Minstrel”

Louise Beavers’ (1902-1962) birthday is today.

Originally from Cincinnati, Beavers moved to the Los Angeles area with her family at age 11. Her mother was a singing instructor. Through her, Beavers started singing in choirs and amateur concerts, eventually joining a group called “The Lady Minstrels” which played dates in vaudeville and presentation houses. In early adulthood she worked as a domestic to stars like Leatrice Joy and Lilyan Tashman, an irony given the large numbers of servants and house slaves she would play during her movie career. As was sadly common at the time, those sorts of characters were almost exclusively what she got to play.

Her first film work was as an extra in the 1927 version of Uncle Tom’s Cabin. When talking films came in she instantly progressed to small speaking roles. She’s in Mary Pickford’s first talkie Coquette (1929), the lost classic Gold Diggers of Broadway (1929), with Mae West in She Done Him Wrong (1933), 42nd Street (1933), Bombshell (1933) and dozens of others.

In 1934 she attained the highlight of her career, co-starring with Claudette Colbert in the classic race drama Imitation of Life (1934). While she had ample chance to shine in that movie, and received plenty of good notices, it unfortunately didn’t lead to lots of similar work. She was instantly relegated back to the same sort of domestic roles in films like General Spanky (1936), No Time for Comedy (1940), Holiday Inn (1942), and Mr. Blandings Builds His Dream House (1948), although she did get a fine part in The Jackie Robinson Story (1950) as the star player’s mother. In the 1950s she was a familiar face on television on shows such as Beulah (1952) and Make Room for Daddy (1953-1954).

To find out more about vaudeville history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc